This was the final city to be visited for this stage of the You Are (the) Here project. Although I had been to London on two previous occasions, I reasoned that a significant enough period of time had elapsed for me to be able to see the city afresh. However, there was still a familiarity due to similarities of language and culture that rendered much of London less remarkable than the previous three cities by comparison. This is not to say that I did not thoroughly enjoy myself or see a great many new and magnificent objects of metalsmithing and other decorative arts. But after having lived in New York City a few times, London could not help but feel the most familiar of the four locations in this project. And I cannot be insensible to the fact that such a familiarity might have brought a certain amount of blindness to my surroundings. When one is surrounded by the strange and novel, I believe one notices more. However something of the pattern established by the first three cities probably also guided my observations, as you will notice that I found another bollard that I like. As for museums, I spent more than ten hours at the Victoria and Albert Museum, which has stolen the title of “My Favorite Museum” from the Metropolitan Museum of Art. The Crown Jewels, Design Museum, and British Museum were also delightful but could not hold a candle to the V&A. The following objects are likely to become the representations of London for this project, with the cylindrical, ceramic chimneys being the main representational object. I like the subtle reference to the British ceramic industry and found the variety of shapes delightful. As for the wall images, I was responding to the variety of sizes and textures in their composition and their testimony to the layers of history that abound in the city.

Of the three cities I have visited for the You Are (the) Here project thus far, Dresden was the hardest one in which to find a representative subject. This was partly due to the close proximity of my hotel to most of the sites I was interested in seeing, which resulted in a reduced scope of experience. The Green Vault, New Green Vault and Armory were within a block of each other and flanked by other delightful collections of decorative arts. The fact that Dresden was nearly destroyed by an Allied bombing in February of 1945 meant that this city’s rich history is somewhat belied by relatively recent reconstruction. What would serve as a reminder of my experience of Dresden? What object’s likeness might be used to create a handmade, personal souvenir of this city? The thing that stood out to me, over and over, was the contrast of old and new stones used in the reconstruction of historic edifices. In a cropped view, these patchworks of dark and light create a minimalist grid of contrasts. In reality they are the perfect representation of a city that had to rebuild from almost nothing in some places. I found the story of the Frauenkirche particularly moving. Computer-imaging technologies were used to place the remaining stones in their original locations in time for the city’s 800th birthday.

In all I plan to make six broaches representing various brick compositions that I photographed around town. I will use engraved cross-hatched lines to depict the darker stones.

I only found one additional urban element that seemed to want to be a piece of jewelry:

The collections of secular and sacred metalworking in and around Vienna were overwhelming. As a system of government, monarchies might have some issues but man-oh-man can they turn out some lavish metalwork! I am sorry to say that Cellini’s saliera was not on view and no amount of throwing my (limited) weight around got me access to it. However, Nicholas of Verdun’s altarpiece was incredibly moving and the silver cabinet of the central palace was awe-inspiring. What I always think about in such places is the hours and hours of human inventiveness and skill that went into the collected works.

The public element in Vienna that I chose to use for its representation in the You Are (the) Here project came quite easily. I was delighted to find that their older fire hydrants resemble bishops from a chess game. These were frequently accompanied by similarly sculpted bollards to keep cars out of a pedestrian area. The combination of a larger hydrant balanced by a series of slightly smaller bollards as a counterweights to one another sounded like a great opportunity for a necklace. Furthermore, the two-sided ornament may reference the position of Austria as a link between Eastern and Western European Cultures.

As in Paris, there were a number of side items that will probably end up getting translated on the jeweler’s bench as well.